Yannick Nézet-Séguin

TCHAIKOVSKY »Pathétique« Nézet-Séguin 4790835

That you don't have to be St Petersburg-trained . . . to be a thoroughbred Tchaikovskian is underlined by Nézet-Séguin's Pathétique with the Rotterdam Philharmonic Orchestra. The French-Canadian conductor leads a performance of intensity and feeling, underpinned by structural cohesion and go-for-broke playing. Bonus points, too, for the way he leads straight from the brazen March to the broken-hearted Finale. How often do we hear a Pathétique as fresh and compelling as this? Nézet-Séguin then accompanies Batiashvili in arrangements for violin and piano of seven Tchaikovsky songs -- a touching coda.

. . . an energised performance of the "Pathétique" . . . [Nézet-Séguin] veers on the side of good taste and invests the symphony with a good deal of emotional power. The playing is of impressive animation, rich in a texture that is closely woven but warm and vibrant of colour.

There's loads to admire here. Nézet-Séguin's winds and brass project beautifully, and string articulation is ideal. The bass trombone pedal before the first movement's recapitulation is sensational, making the second subject's reprise pack an incredible punch, bravely assertive in spite of what's gone before. I also loved Nézet-Séguin's tender handling of the little brass chorale in the coda. The second movement's lolloping 5/4 rhythms are nicely characterised, the plangent trio sweetly melancholy. The march's mood is more exultant than desperate, making the Adagio Lamentoso's plunge into the abyss more unsettling. Nézet-Séguin's refusal to linger pays enormous dividends. There's a wholly appropriate dark grittiness to this orchestra's sound. This is one of the best modern "Pathétiques" available. As a bonus, we get piano and violin transcriptions of several of Tchaikovsky's Romances. They sound highly effective, and they're very well-played by Lisa Batiashvili and accompanied by Nézet-Séguin on piano, keen to draw parallels between two of the darker Op.73 set and the symphony's last movement.

Record Review /
Graham Rickson,
Arts Desk (London) / 11. January 2014

. . . [Symphony no. 6]: this is a solid reading that holds its own against the large number of recordings of this symphony, so listeners who need a first-rate version can be assured of the interpretation and the performance. Yet because this is one of the most frequently recorded classical pieces of all time, one may wonder what Nézet-Séguin brings to it that makes his rendition necessary. Perhaps his sense of pacing and calculated use of rubato for dramatic effect make it feel more organic than most, and his sudden shifts of tempo and emphasis on heightened dynamics make this one of the most interesting versions to follow . . . [Romances opp. 6 & 73]: it's interesting to hear Nézet-Séguin's piano playing, which is quite restrained and poetic in feeling. Batiashvili carries the melodic lines with passionate expression and a warm singing tone . . .

Record Review /
Blair Sanderson,
Allmusic.com / 04. February 2014

[Symphony 6]: He really pegs the first movement climax, playing up the music's emotional devastation, and takes the marching scherzo at a swift pace that reminds one of Mravinsky . . . Nézet-Séguin presents the Finale as a heartfelt, rather than hysterical lament, with beautiful playing from the Rotterdam strings . . . the kind of performance that would be pleasing to hear at a summer evening concert . . . The gloomy "Night" sounds here like a precursor to the Symphony's finale, making Nézet-Séguin's program choice all the more appropriate. The duo performs with sensitivity, color and real feeling throughout all the songs, which makes you eager to hear the vocal versions.